Recommended by Rachel Bublitz

For me a good history play does two things, it focuses on action instead of only teaching the audience, and the event(s) depicted say something about the present time. Susan Lambert Hatem does both in "Confidence (and the Speech)" which never becomes merely a history lesson. It also offers a bit of hope in a time when hope is hard to come by. I think this play would do particularly well in college productions.

“Slut” begins with a fantastic description of the title character “The Slut”: “She is utterly unapologetic about her body. She flaunts rather than flatters,” which gives the reader a sneak peak at what’s in store before any dialogue has even been spoken. In the pages that follow, we explore the sexual wills of a woman who is completely unapologetic about her appetites, and her relationship to two things: her glorious bed, and the man who can’t have her. It’s funny and intense, and makes me wish I had a bed half as nice as The Slut's.

The moms in STAGE MOM are the most deliciously cruel characters I've read in a long time. The play made me thankful my mom was a normal human, and that I'm not putting my kids through the insanity that they are. Very producible, incredibly funny, and it has an ending that surprised me and got me a little choked up. STAGE MOM should be forced viewing material for every parent who lives through their kids' lives.

Lovely and heartbreaking, both characters are so complex and well developed. It's a play I'll be thinking about for a long time. And, as a teaching artist, it's great to have material for young actors that they can connect so well to. Highly recommend!

Hilarious and scary as hell. Yockey has you rooting for very strange and disturbing things to happen. There's one very special entrance that got hoots and hollers at the production I saw. I love this play and can't wait to watch it again.

Pulling the Santa card is tempting to me when my kids are little monsters, but in BE GOOD Eric Pfeffinger takes using imaginary beings as deterrents to the extreme in this disturbing and delightful ten-minute play.

I'm always a sucker for plays that give voices to inanimate objects (and in this case elements too). Lots of opportunity for movement, imagination, and fun.

I found it so touching and never overly sentimental, which with the subject matter of death and losing loved ones is quite an accomplishment. As always I find myself with Lewis' word choice and depth of character.

So deeply personal, specific, and engaging. It looks at gun ownership at a way that surprised me, while also never preaching or demanding I agreed with it. Fantastic play.

A great two hander that deals with sisters coming to terms with the death of their mother, and what can and can't be done with the wedding dress she left with both of them. I love how Panganiban gives each sister specificity and weight, without demonizing anyone.